Cinco Latinas looked a lot like dances Ailey had performed at Horton's theatre and on at least one occasion (27th January 1962) included several Horton-credited pieces among its number. Most successful of the suite was the bawdy rumba alternately titled 'El Ciagro' that Ailey concieved for Charles Moore and Jacqueline Walcott as 'the age-old fight between men and women stated in new terms. Choreography: Alvin Ailey Restaging: Masazumi Chaya Costumes redesigned: Normand Maxon Décor & Costumes: Ves Harper Original Lighting Design: Nicola Cernovitch Lighting Redesign: Chenault Spence First Performance: World Premiere, 1958 - 92nd Street YM-YWCA, New York Run Time:16 minutes Musical Style:Traditional . Blue Suites(1958) Choreographer: Alvin AileyMusic: Claude DeBussy Décor & Costumes: Normand MaxonLighting: Nicola Cernovitch Ariette Oubliee(1958) "Blue Suites" (1958), set in and around a barrelhouse, depicts the desperation and joys of life on the edge of poverty in the South. Highly theatrical and immediately accessible, the dance contains sections of early 20th- century social dances, Horton dance technique, Jack Cole-inspired jazz dance, and ballet partnering. and finally De Lavallade and her retinue of attendants bearing branches and sea shells. Lovestruck, the Wanderer caught the Moon in a net, only to find himself captured by her spell. The Moon left, and the cardboard moon followed her. The man found a sea shell beneath his hat. Thankyou :) .With the rumble of a train and the toll of distant bells, a cast of vividly-drawn characters from the barrelhouses and fields of Alvin Ailey’s southern childhood are summoned to dance and revel through one long, sultry night. Ailey’s first masterpiece poignantly evokes the sorrow, humor and humanity of the blues, those heartfelt songs that he called “hymns to the secular regions of the soul.” Redonda, later renamed Cinco Latinas (21 December 1958), strung together 5 short pieces of exotica described as 'Latin theme'. Ailey's programme notes explained that the dancers were 'not intended as exact duplications of any ethnic form but creative interpretations of the mood,style and rich variety of the Afro-Brazillian-Carribean heritage'. Ariette Oubliee (21 December 1958), set to music from Debussy's song cycle of the same title, received a single performance. Ailey developed a choreographic fantasy from Debussy's impressionist settings of Verlaine's symbolist poetry. He portrayed a distracted youthful Wanderer who me a Clown (Don Price) and traded the flower of reality for the illusion of a beautiful Moon (Carmen De Lavallade). Much of the action was conveyed in pantomime. The Clown's crescent moon, exchanged for a flower plucked from the brim of the Wanderer's hat, became first a large cardboard moon Ailey certainly made the dance to display the beauty of De Lavallade, who, when 'borne about the stage by her votaries in sweeping crescents, might have been an incarnation of Diana, chaste goddess of the moon' The performance of Don Price as the Pierrot Lunaire figure in Ailey's dance seemed 'not quite firm enough' although Ailey conveyed a 'believable simple conviction' as the man. Ariette Oubliee relied heavily on Maxon's sumptuous decor and costumes, though, as one critic quipped, 'props are no substitute for meaningful dance.' Blue Suites is a piece deriving from blues songs from that era in Ailey's life. Beginning with the blues, Alvin Ailey was subsequently able to take us through a wide range of emotional and kinetic experiences in his choreographic output.The characters in Blues Suite reflections of people he knew from his childhood in Texas, went to the Dew Drop Inn on Saturday evening to relax and have a good time while preparing to repent at church on Sunday morning. Mr.Ailey said, “In dance I deal with these two very different worlds.”